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THE  FLOATING   ISLAND 


By 


WILLIAM  STRODE 


TOGETHER  WITH  AN  ACCOUNT  OF  THE  LIFE  OF  THE 
AUTHOR,  AND  A  REVIEW  OF  THE  UNIVERSITY  DRAMA 
IN  ENGLAND,  CHIEFLY  AFTER  THE  YEAR  1600 


PRESENTED   IN    THE    FORM  OF  A  THESIS  TO  THE 

FACULTY  OF  THE  GRADUATE  SCHOOL  OF 

THE  UNIVERSITY  OF  PENNSYLVANIA 


By  ERNEST  GODFREY  HOFFSTEN 


IN  PARTIAL  FULFILLMENT  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF  DOCTOR  OF  PHILOSOPHY 


THE  FLOATING  ISLAND 

By 

WILLIAM  STRODE 

TOGETHER  WITH  AN  ACCOUNT  OF  THE  LIFE  OF  THE 
AUTHOR,  AND  A  REVIEW  OF  THE  UNIVERSITY  DRAMA 
IN  ENGLAND,  CHIEFLY  AFTER  THE  YEAR  1600 


OP  THE 

VNiVERSITY 

OP 


PRESENTED   IN   THE   FORM  OF  A  THESIS  TO  THE 

FACULTY  OF  THE  GRADUATE  SCHOOL  OF 

THE  UNIVERSITY  OF  PENNSYLVANIA 


By  ERNEST  GODFREY  HOFFSTEN 


IN  PARTIAL  FULFILLMENT  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF  DOCTOR  OF  PHILOSOPHY 


OOTT8CHALK   PRINTING  COMPANY 
SAINT  LOUIS 


PREFACE 

THE  original  scope  of  this  thesis  consisted  of 
an  edition  of  William  Strode's  play  *'The 
Floating  Island,"  with  an  introduction  and  notes; 
but  the  recent  publication  of  the  poems  and  play 
of  the  author,  in  one  volume,  by  Mr.  Dobell  of 
lyondon,  precludes  the  advisability  of  another 
edition.  As  emphasized  so  strongly  in  Dobell' s 
edition.  Strode  is  worth  studying.  Our  especial 
interest  in  him  lay  in  the  consideration  of  the 
part  he  played  in  the  development  of  the  drama 
within  the  college  walls,  notably  Oxford  and 
Cambridge.  The  reader  is  referred  to  Dobell' s 
edition  for  the  text  of  the  play. 

The  writer  wishes  to  acknowledge  a  debt  of 
gratitude  to  Dr.  F.  K.  Schelling  for  his  uniform 
kindness  and  advice. 


St.  Louis,  1908. 

186932 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/floatingislandOOhoffrich 


TABLE  OF  CONTENTS 

I.  A  Gknkrai.  Sketch  of  thb  University  Drama  In 
EngivAnd,  Showing  Its  Distinct  Growth  and 
devei.opment. 

II.    The  Life  and  Associations  of  Wilwam  Strode. 

III.  The  Ai,i.usions  in  the  University  Drama  and  the 

F1.0ATING  IS1.AND. 

IV.  A  B1B1.10GRAPHY  OF  THE  Works  Consui^ted  in  the 

Preparation  of  this  Thesis. 


PART  I. 

A  GENERAL  SKETCH  OF  THE  UNIVERSITY  DRAMA 

IN    ENGLAND,  SHOWING    ITS    DISTINCT 

GROWTH  AND  DEVELOPMENT. 


A  GENERAL  SKETCH  OF  THE  UNIVERSITY  DRAMA 

IN  ENGLAND,  SHOWING  ITS  DISTINCT 

GROWTH  AND  DEVELOPMENT. 

The  University  Drama  in  England  may  be  said  to  have 
had  its  inception  in  the  year  1350,  when  the  Latin  play, 
"Ludus  Filiorum  Israelis,"  was  presented  at  Corpus  Christi 
College  in  Cambridge.^  The  greater  number  of  plays  that 
were  presented  at  both  Oxford  and  Cambridge  before  the 
reign  of  Queen  Elizabeth  were  written  in  Latin.  Play  writing 
appears  to  have  been  largely  an  exercise  for  the  purpose  of 
displaying  a  student's  knowledge  and  mastery  of  the  Latin 
tongue;  in  fact,  Latin  and  play  writing  went  hand  in  hand  as 
educational  values.  And  it  is  therefore  not  surprising  that 
Latin  was  upon  every  college  man's  lips.  For  example,  in 
the  play  "Albumazar,"  presented  at  Trinity  College,  Cam- 
bridge, in  the  year  1614,  there  is  a  reference  to  the  frequency 
of  Latin  usage  indicated  in  the  mention  of  English  being 
spoken  as  a  foreign  language.  The  following  lines  reveal 
this  fact: 

*'If' t  be  a  fault  to  speak  this  foreign  language, 

(For  lyatin  is  our  Mother  tongue)  I  must  entreat  you 

To  frame  excuses  for  us;  for  whose  sake 

We  now  speak  English.  "2 

Under  such  conditions  it  was  but  natural  that  the  poet, 
John  Skelton,  in  the  reign  of  Henry  VIII,  should  have  been 
crowned  at  Oxford  for  certain  Latin  verses.  This  precedent, 
which  was,  indeed,  the  continuation  of  an  old  mediaeval 
custom,  paved  the  way  for  the  subsequent  instance  of  a  degree 
being  conferred,  in  1512,  on  one  Edward  Watson,  upon  con- 
dition that  he  write  a  Latin  comedy. 3  The  early  University 
Drama  was  thus  an  expression  to  be  made  practical  use  of  in 
an  educational  way. 

It  was  but  a  step,  in  the  line  of  didactic  influences,  for 
the  University  Drama  to  be  affected  by  the  allegorical  elements 
in  the  school  drama.      The  characteristics  of  the  moral  play 

1  Retrospective  Review,  Vol.  12— "The  I^atin  plays  acted  before  the  University  of 
Cambridge,"  by  W.  I<.  Courtney,  I^ondon,  1825. 

2Cf.  Dodsley's  "Old  English  Plays,"  ed.  Hazlitt;  "Albumazar,"  in  Vol.  11, 
IvOndon,  1876. 

3F.  E.  Schelling,  Elizabethan  Drama,  Vol.  2,  p.  53. 


are  at  once  discernible  in  the  play  of  ''Narcissus,"  presented  at 
St.  John's  College,  Oxford,  in  the  year  1602.  In  the  play 
entitled,  * 'Apollo's  Shroving,"  acted  1626,  "the  enduring 
manner  of  the  later  moralities"  is  apparent.  Says  Dr.  Ward: 
"The  idea  of  the  action,  such  as  it  is,  consists  in  the  conflict 
between  the  claims  of  Learning  and  the  wiles  of  the  Queen 
Hedone,  practiced  by  the  agency  of  the  messenger,  the  sea- 
nymph  Siren."  This  is  an  English  play,  and  was  composed 
for  the  scholars  of  the  Free  School  of  Hadleigh  in  Suffolk, 
and  acted  by  them  on  Shrove  Tuesday,  February  6,  1626.^ 
Strode's  "The  Floating  Island,"  presented  before  King 
Charles,  at  Christ  Church,  Oxford,  in  the  year  1636,  was 
reported  "too  full  of  morality  to  please  the  court. "^ 

From  its  very  nature,  and  because  of  the  counter  dramatic 
influences  of  the  school  drama  to  which  it  was  naturally  sus- 
ceptible, the  University  Drama  became  at  once  limited  in  its 
appeal  to  the  public  mind.  It  was  just  as  much,  if  not  more, 
of  an  occasional  character  as  w^ere  the  plays  at  court. 

The  University  Drama,  does,  however,  reveal  a  distinct 
growth.  While  the  subject  matter  of  the  plays,  written  before 
the  year  1600,  was  of  little  or  no  interest  to  the  public,  those 
plays  which  were  composed  after  this  date,  and,  in  fact,  up  to 
the  time  of  the  Restoration,  exhibit  rather  a  wide  range  of 
subject  matter  and  diversity  of  treatment.  The  elements  of 
satire,  especially  of  a  strongly  personal  tone,  came  to  be  used 
frequently  and  attracted  the  attention  of  the  public  mind  to 
the  life  in  the  colleges.  The  numerous  allusions  in  the  three 
famous  Parnassus  Plays  were  bound  to  attract  the  eye  of  an 
interested  public.^  These  plays  "contain  several  passages  in 
outspoken  criticism  of  poets  and  dramatists  of  the  day,  thus 
affording  us  aji  excellent  example  of  the  academic  attitude 
toward  the  new  popular  literature  that  luxuriated  beyond  the 
college  walls."* 

The  interest  thus  manifested  in  popular  literature  reacted 
upon  the  college  playwright  and  made  him  susceptible  to  its 
influences.  In  1614,  "Sicelides,  a  Piscatory,"  because  of  its 
pastoral  qualities,  may  point  to  a  Spenserian  influence  upon  its 

iWard:  History  of  English  Dram.  lyit.,  lyondon  and  New  York,  1899.  Vol. 
3,  p.  183. 

2Halliwell:    Diet,  of  Old  Plays,  p.  98. 

3"The  Pilgrimage  to  Parnassus  with  the  Two  Parts  of  the  Return  from  Parnassus." 
—Ed.  from  Ms.  by  the  Rev.  W.  D.  Macray,  M.  A.,  F.  S.  A.  Oxford,  1886. 

4Schelling— ibid,  Vol.  2,  68. 


author,  Phineas  Fletcher.  "The  Jealous  Lovers,"  of  Thomas 
Randolph,  presented  at  Trinity  College,  Cambridge,  in  the 
year  1631,  was  probably  suggested  by  Jonson's  "Cynthia's 
Revels."  The  evidence  is  to  be  found  in  the  name  "Asotus" 
and  a  few  other  touches.^ 

What  was  the  impetus  that  urged  on  the  dramatic  activity 
at  the  Universities  of  Oxford  and  Cambridge  after  the  year 
1600?  A  hasty  survey  of  the  Elizabethan  period  will  show 
that  the  literature  of  this  period  was  popular,  and  not  courtly 
or  academical.  The  universities  were  not  encouraged  by  the 
leading  literary  lights  of  the  time.  Spenser,  Raleigh  and 
Bacon,  though  each  was  a  University  man,  did  not,  in  their 
writings,  reflect  college  inspirations.  The  popular  rather  than 
academic  circles  claimed  them.  Approaching  the  year  1600, 
however,  we  find  that  "not  only  were  popular  plays  on  the 
London  stage  again  and  again  performed  at  Court  and  at  the 
Universities,  but  that  the  reflex  influences  of  the  court  drama 
and  the  masque — even  of  the  narrowly  academic  plays  of 
Oxford  and  Cambridge — upon  the  popular  stage,  while  less 
easily  traceable  in  concrete  example,  can  not  but  have  been 
appreciably  strong.  "^  Several  of  Shakespeare's  plays  were 
acted  at  Oxford  on  the  visits  of  his  company  to  the  seat  of 
the  Universit}^  during  the  early  years  of  the  reign  of  King 
James.*  In  Shirley's  ''The  Witty  Fair  One,"  in  Act  IV, 
Scene  II,  the  character  "Freed"  is  made  to  say:  "What 
makes  so  many  scholars  then  come  from  Oxford  and  Cam- 
bridge, like  market-women  with  dossers  full  of  lamentable 
tradgedies,  and  rediculous  comedy,  which  they  might  here 
vent  to  the  players,  but  they  will  take  no  money  for  them." 

There  was  thus  a  marked  counter-influence  between  the 
popular  and  the  academic  plays  after  the  year  1600.  The 
process  of  assimilation,  too,  among  the  few  University  play- 
wrights was  still  going  on.  Furthermore,  the  general  tendency 
of  the  age  was  exerting  its  influence  upon  their  work.  Changes 
that  became  characteristic  of  the  literary  conception  and  treat- 
ment in  England,  after  1600,  were  having  their  effect.  An 
attitude  of  criticism  was  one  of  these  changes,  and  became  at 

IW.  Carew  Hailitt:  The  Poetical  and  Dramatic  Works  of  Thomas  Randolph,  2 
vols.,  I^ondon  1876,  Introduction.  Dr.  Schellitig  regards  this  as  an  overstatement,  and 
suggests  that  "The  Jealous  I^overs"  was  worked  up  on  a  hint  from  Ben  Jonson, 

2Schelling,  ibid.,  Vol.  2,  51. 

3Halliwell- Phillips  Outlines.     Ed.  1898.  1,  214  etseq. 


once  evident  in  "the  rhetorical  note  characteristic  of  the  tragic 
and  comic  drama"  of  the  early  seventeenth  century.  This 
critical  view  of  things  found  part  of  its  vent  in  the  satirical 
elements  of  the  University  drama. 

The  classics  still  exerted  a  potent  influence  in  the  univer- 
sity plays.  The  imitation  of  Plautus  and  Terence  was  an  early 
practice  of  the  scholars  in  the  university,  which,  indeed,  was 
highly  instrumental  to  the  growth  and  improvement  of  the 
drama.^  In  the  play  entitled,  "Lingua",  acted  at  Trinity, 
Cambridge,  in  1616  or  1620,  the  characters  refer  to  classic 
authors  as  though  contemporary  with  them.  Evidently,  this 
was  due  to  extensive  erudition  in  the  classics.  Themes  of 
academic  plays  were  taken  mostly  from  Greek  and  Roman 
mythology,  and  the  various  anachronisms  and  absurdities  aris- 
ing from  the  method  of  treatment  contributed  to  heighten  the 
amusement  of  the  spectators.^ 

The  university  drama  was  no  less  open  to  Italian  influ- 
ence, concerning  which  Ward  says:  "The  most  direct  traces 
of  its  influence  upon  the  English  drama  of  this  period  (after 
1600)  are  probably  to  be  sought  for  in  the  academical  plays. "^ 
The  play  **Albumazar",  by  John  Tomkis,  presented  at 
Trinity,  Cambridge  in  the  year  1614,  is  said  to  be  a  close 
imitation  of  "I^'Astrologo",  an  Italian  comedy  by  G.  B.  della 
Porta,  printed  in  Venice,  in  the  year  1606.  George  Ruggles' 
"Ignoramus",  presented  at  the  same  college  during  the  same 
year  was,  probably,  likewise,  inspired  by  G.  B.  Porta' s  "La 
Trappolaria."* 

In  addition  to  these  definite  influences  upon  college  dra- 
matic literature,  there  sprang  up,  during  the  early  part  of  the 
seventeenth  century,  a  real  and  growing  interest  in  the  univer- 
sities. The  Bodleian  Library  at  Oxford,  while  it  had  nothing 
to  do  directly  with  this,  did  more  than  patronage  to  promote 
learning. 5  Futhermore,  Laud's  chancellorship  of  eleven  years 
at  Oxford,  beginning  in  the  year  1630,  brought  about  many 
beneficial  reforms  within  the  colleges.  Royal  sanction  and 
approval  of  college  life  and  college  plays  became  at  once 
evident  in  the  rather  frequent  visits  of  royalty  to  the  seats  of 

1  Retrospective  Review,  Vol.  12. 

2 "Narcissus",  ed.  Margaret  ly.  I^ee,  I^ondon,  1893;  Introduction, 

3 Ward;  Hist,  of  English  I,it,  Vol.  3,  p.  265. 

4 Ward,  ibid.  Vol.  3,  p.  186. 

5Broderick,  "A  Hist,  of  the  University  of  Oxford"  N.  Y.,  p.  96. 

10 


learning.  Queen  Elizabetli  visited  Oxford  on  two  occasions, 
in  1566  and  in  1592.  James  visited  Oxford  in  1605,  and 
Cambridge  in  1614.  Charles  paid  two  visits  to  Oxford,  in  1629 
and  in  1636.  Upon  the  occasion  of  his  latter  visit  two  plays 
were  presented  at  Christ  Church,  Strode' s  ''The  Floating 
Island",  and  Cartwright's  "The  Royal  Slave". 

From  these  influences,  partly  of  an  intellectual  and  partly 
of  a  disciplinary  nature,  it  becomes  at  once  evident  that  the 
universities  of  Cambridge  and  Oxford  had  entered  upon  a  new 
lease  of  life  in  the  early  seventeenth  century.  **More  English 
plays  were  acted  at  Oxford  in  three  years  than  are  recorded 
for  the  whole  of  Queen  Elizabeth's  reign. "^  The  university 
drama  reflects,  in  consequence,  a  broader  and  more  attractive 
side  than  it  had  ever  done  before. 

iSchelling,  ibid.  Vol.  2,  p.  90. 


U 


PART  II. 

THE  LIFE  AND  ASSOCIATIONS  OF  WILLIAM  STRODE 


THE  LIFE  AND  ASSOCIATIONS  OF 
WILLIAM  STRODE. 

William  Strode,  the  author  of  ''The  Floating  Island.'* 
was  a  Devonshire  man.  He  was  born  near  Plympton  in  the 
year  1602;  but  the  exact  date  is  not  to  be  found  in  the  records. 
He  was  an  only  son,  and  his  father  was  a  Philip  Strode,  who 
had  married  one  Wilmot  Hanton.  There  is  some  reason  to 
consider  the  family  of  Strode  of  gentle  birth,  since  it  is  sup- 
posed that  Sir  Richard  Strode  of  Newnham,  Devonshire,  was 
the  uncle  of  William.^  Confusion  however  is  very  probable 
in  tracing  such  a  descent,  for,  through  the  latter  half  of  the 
sixteenth  century  and  all  of  the  seventeenth,  there  are  to  be 
found  in  the  matriculation  register  of  Oxford^  no  less  than 
thirty-five  students  bearing  the  name  Strode.  Ten  of  these 
are  known  to  be  from  Devonshire;  and  there  are  seven  who 
bear  the  name  William,  of  whom  three  are  Devonshire  men. 

William  Strode  secured  a  King's  scholarship  at  West- 
minster School,  and  was  elected  to  Christ  Church,  Oxford,  in 
1617.^  He  did  not  matriculate,  however,  until  June  1,  1621, 
at  the  age  of  nineteen.  From  all  accounts,  Strode  was  a  very 
active  student  at  Christ  Church.  It  required  but  five  months 
for  him  to  secure  his  bachelor's  degree,  receiving  it  on  Decem- 
ber 6th  of  the  year  1621.*  His  master's  degree  was  granted 
on  June  17,  1624.^  Strode's  continued  career  of  activity  and 
usefulness  at  Oxford  secured  for  him  the  highest  degree  in  the 
clerical  profession,  namely,  the  B.  D.,  on  December  10,  1631,^ 
and  the  D.  D.,  on  July  6,  1638.7  It  appears  that  Strode 
married  a  daughter  of  Dr.  Simpson,  Prebendary  of  Canterbury, 
by  whom  he  had  an  only  daughter,  who  became  the  wife  of 
Henry  Langley,  Master  of  Arts,  of  Wadham  College.  ^ 

lAccount  of  the  life  of  William  Strode,  in  the  Diet,  of  Nat.  Biog. 

2Alumni  Oxonieasis— the  Matriculation  Register  of  the  University  of  Oxford — 
ed.  Joseph  Foster — Oxford  and  I,ondon,  1891. 

3Three  general  references  have  been  consulted  for  the  facts  in  Strode's  career, 
namely:  Diet,  of  Nat.  Biog.;  "Fasti  Oxoniensis,"  Vol.  1,  and  "Athense  Oxoniensis," 
Vol.  2,  by  Anthony  A.  Wood,  lyondon,  1691,  2  vols,  (a  new  edition  by  Philip  Bliss, 
I^ondon,  1817.) 

4"Fasti,"  Vol.  1,  839. 

5*'Fasti,"  Vol.  1,  847. 

6" Fasti,"  Vol.  1,  870. 

7"Fasti,"  Vol.  1,  894. 

SDobell,  "Poetical  Works  of  Wm.  Strode."— Intr.  XXIII. 

18 


Strode  was  connected  with  Christ  Church  the  greater  part 
of  his  career,  and  appears  to  have  resided  at  Oxford  during 
his  entire  life  as  a  faithful  servant  of  his  Alma  Mater.  The 
service  that  he  rendered  was  in  the  successive  holding  of 
several  ofiSces  of  college  importance.  In  1629  he  was  appointed 
Proctor,  apropos  of  which  event  it  is  of  interest  to  note  the  fol- 
lowing decree  of  King  Charles:  *'It  must  now  be  observed 
that  whereas  the  elections  of  Proctors  had  hitherto  been  made 
by  public  canvassing,  it  pleased  the  King's  Majesty  to  make 
them  private  and  domestick."  A  cycle  of  revolution  in  the 
oflBce,  referred  to  as  the  Caroline  Cycle,  was  also  established 
at  this  time.  Strode,  and  Thomas  Atkinson  of  St.  John's 
College,  were  presented  to  their  offices  in  convocation,  on  April 
the  fifteenth.^  Strode  also  enjoyed  the  distinction  of  the  office 
of  Public  Orator  of  the  University,  receiving  his  appointment 
in  this  same  year,  1629.  Two  years  later  he  became  a  Reader, 
and  in  the  year  1638,  he  was  appointed  Canon  of  Christ 
Church. 2  In  addition  to  holding  these  University  offices. 
Strode  was  appointed,  in  1633,  to  the  rectory  at  East  Braden- 
ham;^  in  1638,  he  became  Vicar  of  Blackbourton,  Oxfordshire. 
From  1639  to  1642  he  was  Vicar  of  Badby,  Northamptonshire. 
Strode  also  served  Bishop  Corbet  as  chaplain,  just  before  the 
Bishop's  death,  in  1635. 

William  Strode  was,  indeed,  an  enthusiastic  Oxford  man. 
His  career  at  the  university  fell  in  troublous  times.  England, 
at  large,  was  sorely  vexed  over  two  problems  of  a  very  serious 
nature :  namely,  the  question  of  enforcing  the  decree  of  uni- 
formity in  religious  worship,  and  the  privilege  of  the  King  in 
levying  taxes.  Both  of  these  matters  were  of  vital  moment  to 
the  people;  their  liberty  of  thought  and  action  was  at  once 
challenged.  The  University  of  Oxford  reflected  fully  the 
pulses  of  these  times.  "If  it  had  played  a  humbler  part  in 
the  earlier  stages  of  the  Reformation  than  in  the  intellectual 
movement  of  the  Renaissance — it  was,  nevertheless,  destined 
to  bear  the  brunt  of  the  storms  which,  already  gathering  in 
the  last  years  of  Elizabeth,  burst  over  Church  and  State  in  the 
first  half  of  the  seventeenth  century."*  Religious  controversies 

1  "Fasti,  "1,864. 

2"Athen8e  Oxoniensis." 

3Strode,  apparently,  continued  to  reside  at  Oxford.— Diet.  Nat.  Biog,  "William 
Strode." 

4A  Hist,  of  the  Univ.  of  Oxford,  Broderick,  N.  Y.,  p.  100. 

14 


filled  the  air,  and  political  and  religious  sentiment  at  the 
universities  was  divided.  The  Act  of  Uniformity  was  strictly 
enforced  at  Oxford,  under  the  chancellorship  of  Laud,  who 
held  this  position  from  1630  to  1641.^  Nevertheless,  a  strong 
opposition  at  once  manifested  itself  in  the  "deep  undercurrent 
of  Puritanism — among  the  more  earnest  college  tutors  and 
students."^  When  we  consider,  further,  that  the  university, 
even  at  this  time,  was  a  training  school  for  the  clerical  profes- 
sion, rather  than  for  the  general  world,  bitter  religious  dis- 
cussions among  the  students  were  a  most  natural  outcome  of 
such  a  condition.  And  it  is  altogether  probable  that  Strode 
plunged  into  these  controversies,  as  a  student,  with  much  the 
same  zest  that  is  evident  in  his  later  years  in  *  'The  Floating 
Island,"  in  which  the  Puritans  were  the  butt  of  his  censure 
and  ridicule. 

One  of  the  chief  sources  of  Puritanic  displeasure  lay  in  the 
play- writing  and  acting  among  the  students  of  the  universities. 
The  amusements  of  the  period  lacked  refinement,  and  the 
prevalent  forms  of  sport  included  bull-baiting  and  bear-baiting. 
These  diversions  called  forth  a  decree  from  James  I,  forbidding 
them,  and  games  of  chance  as  well,  within  five  miles  of  a  town 
or  university.  Latin  and  English  plays,  often  of  doubtful 
propriety  were  a  source  of  much  of  the  university  pleasures; 
and,  indeed,  much  ill  feeling  arose  out  of  the  grossness  and 
personalities  expressed  in  them.  These  plays  were  produced 
within  the  college  walls  and  some  especially  satirical  and  other- 
wise objectionable,  usually  written  in  Latin,  were  performed 
in  the  inns  of  the  city.^  The  performers  in  these  divers  col- 
lege plays  were  masters  of  arts,  bachelors  and  undergraduates. 
In  the  matter  of  selection  there  was  no  apparent  distinction 
as  to  rank.  Students,  preparing  themselves  for  a  clerical 
career,  seem  to  have  enjoyed  this  form  of  recreation  as  much 
as  the  lay  student.  As  a  result  they  exposed  themselves  to 
censure  of  no  mild  type.  In  his  "Apology  for  Smectymnuus, " 
Milton  voices  a  severely  Puritanic  opposition  to  them.  The 
scathing  criticism  in  the  following  extract  was  a  direct  blow 
at  university  plays,  and  especially  at  the  students  indulging  in 
them  who  were  to  become  ministers  of  the  gospel.  The  quota- 
tion  reads:      "When  in  the  colleges  so  many  of  the  young 

iBroderick,  p.  109. 
2Broderick,  p.  101. 
3"Student  I^ife  and  Customs:"  H.  D.  Sheldon,  Ph.  D.,  N.  Y.  1901,  p.  38-39. 


divines,  and  those  in  next  aptitude  to  divinity,  have  been  seen 
so  often  upon  the  stage,  writhing  and  unboning  their  clergy 
limbs  to  all  the  antic  and  dishonest  jestures  of  Trinculoes, 
buffoons,  and  bawds;  prostituting  the  shame  of  that  ministry, 
which  either  they  had  or  were  nigh  having,  to  the  eye  of 
courtiers  and  court  ladies,  with  their  grooms  and  mademoiselles. 
There,  while  they  acted  and  overacted  among  other  young 
scholars  I  was  a  spectator;  they  thought  themselves  gallant 
men,  and  I  thought  them  fools;  they  made  sport,  and  I 
laughed;  they  mispronounced,  and  I  misliked;  and  to  make  up 
the  atticism,  they  were  out,  and  I  hissed.  Judge  now  whether 
so  many  good  textmen  were  not  sufficient  to  instruct  me  of 
false  beards  and  vizards,  without  more  expositors:  and  how 
can  this  confuter  take  the  face  to  object  to  me  the  seeing  of 
that  which  his  reverend  prelates  allow,  and  incite  their  young 
disciples  to  act?  For  if  it  be  unlawful  to  sit  and  behold  a 
mercenary  comedian  personating  that  which  is  least  unseemly 
for  a  hireling  to  do,  how  much  more  blameful  is  it  to  endure 
the  sight  of  as  vile  things  acted  by  persons  either  entered,  or 
presently  to  enter  into  the  ministry:  and  how  much  more  foul 
and  ignominous  for  them  to  be  the  actors."^ 

As  scathing  as  this  criticism  was,  it  did  not  act  as  a 
damper  upon  the  ardor  of  the  college  playwrights  and  actors. 
It  may  have  impressed  and  influenced  a  divinity  student  here 
and  there,  but  of  this  there  appears  to  be  no  record.  The 
extract,  however,  may  serve  in  some  measure  to  indicate  that 
student  life  in  the  universities  was  not  on  a  very  high  moral 
plane.  This  laxity  of  morals  was  a  matter  of  no  small  anxiety 
to  the  Puritan  majority  in  Parliament  during  the  early  years 
of  the  seventeenth  century.^  Even  during  the  strict  rule  of 
Laud's  chancellorship  at  Oxford,  excessive  drinking  was  no 
unusual  practice  among  the  students.  In  1639,  Laud  was 
exercising  his  best  endeavors  to  place  them  under  the  ban 
''The  scholars  (not  excepting  the  seniors)  had  been  hunted 
out  of  alehouses  and  taverns  by  the  vice-chancellor  and 
proctors  constant  walking. "^  Yet  it  was  no  easy  matter  to 
break  down  a  custom  that  had  long  since  established  itself  in 
the  student  life.     Drinking  bouts  have,  it  seems,  ever  been 

i"The  Prose  Works  of  John  Milton."— ed.  J.  A.  of  St.  John,  I,ondon  (Bohn),  Vol. 
3,  pp.  114-115. 

2Sheldon,  p  38. 
3Broderick,  p.  117. 

16 


characteristic  of  certain  groups  of  university  men  in  all  ages. 
In  spite  of  the  fact  that  so  much  trouble  and  turmoil  arose 
over  certain  revelries  at  the  inn,  called  the  "Swyndlestock," 
at  Oxford,  on  February  10,  1355 — called  "St.  Scholastica's 
Day" — the  custom  still  prevailed  at  Oxford. 

Soon  after  he  was  elected  chancellor,  X^aud  instituted  a 
series  of  reforms.  Attendance  at  sermons  and  services  was 
insisted  upon;  the  proper  relations  between  Masters  of  Art  and 
Bachelors  or  students  were  established;  the  use  of  Latin  in 
conversation  as  well  as  in  formal  business  was  ordered.  And 
by  regulating  the  forms  and  fashions  of  academical  costume, 
the  proper  length  of  scholars'  hair,  and  the  hours  for  meals, 
these  rules  of  Laud  provoked  much  resentment  at  his  policy. 
The  undergraduates  were  treated  like  schoolboys,  and  as  such, 
seemed  to  delight  in  annoying  their  instructors  and  setting  the 
authorities  at  defiance.^  Objectionable  as  these  reforms  were 
among  the  student  body,  they,  nevertheless,  had  a  healthy 
influence  upon  the  life  in  the  University.  The  evidence  of 
this  manifested  itself  in  the  growing  popularity  of  Oxford 
during  Laud's  chancellorship.  In  the  year  1611,  there  were 
reported  2420  enrolled  students.  In  the  year  1638,  this  num- 
ber had  increased  to  4000.^  Anthony  A.  Wood  claimed  that 
this  was  due  to  the  administration  of  Laud,  who  ceased  to 
preside  in  1641. 

The  influences  of  these  progressive  changes  at  Oxford  must 
have  been  felt  by  our  author,  William  Strode.  He  was  a 
thorough-going  Oxford  man,  and  was  well-known  within  its 
college  walls.  Wood  describes  Strode  as  "a  person  of  great 
parts,  a  pithy  ostentatious  preacher,  an  exquisite  orator,  and 
an  eminent  poet."  He  is  referred  to  as  "this  renowned  wit" 
in  an  advertisement  of  his  play,  "The  Floating  Island,"  in 
Phillip's  "World  of  Words,"  1658.  The  fame  of  Strode  rests 
upon  his  occasional  verse,  which  is  of  a  lyrical  and  sportive 
nature.  The  recent  publication  of  the  complete  work  of 
Strode  by  Mr.  Dobell  is,  indeed,  a  tribute  to  the  poetic  genius 


iBroderick,  p.  110;  Sheldon,  p. 
2Broderick,  p.  116. 


17 


of  the  poet.    The  following  poem,  entitled,  "In  Commendation 
of  Music,"  reveals  the  lyric  power  of  Strode: 

When  whispering  stray nes  doe  softly  steale 
With  creeping  passion  through  the  hart, 
And  when  at  every  touch  wee  feele 
Our  pulses  beate  and  beare  a  part; 

When  thredds  can  make 

A  hartstring  shake 

Philosophie 

Can  scarce  deny 
The  soule  consists  of  harmony. 

When  unto  heavenly  joy  wee  feyne 
Whatere  the  soule  affecteth  most. 
Which  onely  thus  wee  can  explayne 
By  musick  of  the  winged  hoast. 

Whose  layes  wee  think 

Make  starres  to  winke, 

Philosophie 

Can  scarce  deny 
Our  soules  consist  of  harmony. 

O  lull  me,  lull  me,  charming  ayre. 
My  senses  rock  with  wonder  sweete ; 
Ivike  snowe  on  wool!  thy  fallings  are. 
Soft,  like  a  spiritts,  are  thy  feete: 

Greife  who  need  feare 

That  hath  an  eare? 

Down  lett  him  lye 

And  slumbring  dye, 
And  change  his  soule  for  harmony. ^ 

Strode' s  literary  activity  was  not  very  great;  nor  was  it 
centred  upon  those  forms  of  composition  that  appealed  to  the 
popular  demand.  In  addition  to  the  comparatively  few  poems 
attributed  to  him.  Strode  was  the  author  of  various  sermons, 
three  of  whose  themes  are: — "Sermon  Concerning  Swearing;" 
"Sermon  Concerning  Death  and  the  Resurrection;"  "Sermon 
at  a  Visitation  held  at  Linn  in  Norfolk,"  June  24,  1633.  This 
last  named  sermon  was  preached  at  the  desire  of  Dr.  Richard 
Corbet,  Bishop  of  Norwich.  There  are  also  a  few  orations, 
speeches  and  epistles  attributed  to  Strode.  The  most  inter- 
esting composition  of  Strode's,  however,  was  his  play,  "The 
Floating  Island."     This  is  his  most  pretentious  work,  and  as 

iThis  poem  is  taken  from  Dobell's  edition  of  Strode's  works;  and  the  editor  takes 
occasion  to  remark,  that  the  few  lyrics  left  us  by  Strode  are  enough  "to  assure  him  a 
permanent  place  beside  Herrick,  Carew,  Randolph,  and  Waller."— cf.  Intro,  p.  30. 


such  makes  its  appeal  to  students  of  literature;  and  this  appeal 
lies  in  its  historic  setting  and  background,  not  in  its  intrinsic 
value  as  a  work  of  dramatic  art. 

In  August,  1636,  King  Charles  and  Queen  Henrietta 
visited  Oxford.  Strode  welcomed  them  at  the  gate  of  Christ 
Church  with  a  I^atin  Oration.^  This  visit  was  of  three  day's 
duration,  and  was  attended  by  the  usual  ceremonies,  chief 
among  which  was  the  presentation  of  plays. ^  **The  Floating 
Island' '  was  performed  before  the  King  at  Christ  Church  on 
August  29th.  It  appears  that  the  play  was  purposely  written 
at  the  request  of  the  dean  and  chapter.  "It  contained  too 
much  morality  to  suit  the  taste  of  the  court;  yet  it  pleased  the 
King  so  well,  that  he  soon  after  bestowed  a  canon's  dignity  on 
the  author. "3  Cartwright's  "The  Royal  Slave"  was  also  pre- 
sented before  the  King  on  the  day  following. 

Strode' s  attitude  toward  play- writing  is  interesting  in  this 
connection.  In  the  preface,  "To  The  Reader,"  there  is  an 
apologetic  tone,  expressive  of  Strode 's  disinclination  toward 
the  writing  of  plays.  "He  wrote  it  at  the  instance  of  those 
who  might  command  him;  else  he  had  scarce  condescended  to 
a  Play,  his  serious  thoughts  being  filled  with  notions  of  deeper 
consideration."  Ostensibly,  the  play  was  an  attack  on  Puritan- 
ism, and  was  written  to  please  the  King  and  curry  the  favor 
of  an  Anglican  audience.  Indeed,  it  might  well  be  considered 
an  expression  of  Oxford's  attitude  in  the  existing  religious 
controversies.  Certainly,  it  had  the  approval  and  sanction  of 
the  university  authorities,  since  Strode,  himself,  filled  an 
ofl&cial  position. 

The  attack  on  Prynne  is  evident  in  parts  of  the  play, 
especially  in  Act  I,  Sc.  II. — where  the  line  occurs  : 

"My  Kares  are  questioned.     Locks  which  I  have  severe'd. 
Must  hide  my  eare  Stumps." 

The  part  of  the  Puritan  is  played  by  the  character, 
"Melancholico,"  who  declaims  against  the  innocent  pleasures 
of  the  anti- Puritans.  Prynne's  "Histrio  Mastix,"  published 
in  1633,  evidently  called  forth  much  of  the  ridicule  in  the  play. 
The  notoriety  which  this,  so-called,  "Players'  Scourge"  pro- 
voked made  it  particularly  fitting  that  such  a  play  as  "The 
Floating  Island' '  should  be  presented  before  the  abused  party. 

iDic.  of  Nat.  Biog.— "William  Strode." 

2Broderick,  p.  116. 

SHalliwell,  Diet,  of  Old  Plays,  p  98. 

19 


In  order  to  appreciate  the  historic  value  of  this  play,  there- 
fore, it  is  necessary  to  know  of  its  probable  inspiration, 
"Histrio  Mastix,"  which  is  regarded  as  **the  last  great  expres- 
sion of  the  Puritan  version.  "^ 

In  the  annals  of  literature  Strode  does  not  receive  much 
mention.  His  small  contributions  to  literature  were  short- 
lived and  soon  forgotten.  He  is  better  known  as  a  loyal  son 
of  Oxford,  whom  he  served  all  his  life.  And  during  his 
career  such  men  as  John  Prideaux,  Sir  Nathaniel  Brent, 
Gilbert  Sheldon,  Brian  Duppa,  Samuel  Fell  and  Juxon  filled 
the  headships  of  colleges. 2  To  one  not  intimately  acquainted 
with  the  history  of  Oxford,  such  an  array  of  names  means 
little.  The  great  English  divine,  Hammond,  lived  at  Christ 
Church,  Strode' s  college;  "Seldon  was  acting  as  burgess  for 
the  University;  and  Brian  Twyne  was  amassing  those  anti- 
quarian stores  which  supplied  the  most  valuable  materials  for 
the  marvelous  industry  of  Anthony  Wood."^ 

The  men  with  whom  Strode' s  name  is  associated  in  one 
way  or  another,  were  many  of  them  noted.  Richard  Corbet, 
whom  Strode  served  as  chaplain,  was  Bishop  of  Oxford,  and, 
afterwards,  of  Norwich.  Wood  says  of  him  that,  in  his  young 
days,  he  was  "esteemed  one  of  the  most  celebrated  wits  in  the 
University,  as  his  poems,  jests,  romantic  fancies,  and  exploits, 
which  he  made  and  performed  extempore,  shew'd."  Ben 
Jonson  was  always  on  intimate  terms  with  Corbet,  and 
repeatedly  stayed  with  him  at  the  deanery  of  Christ  Church.* 
The  influence  that  Dr.  Corbet  exerted  upon  Strode  was, 
undoubtedly,  of  anti-puritanical  force.  He  frequently  admon- 
ished his  clergy  for  so-called  "Puritan  fanatics." 

In  the  lay  world  Strode  had  a  good  friend  in  the  person 
of  Sir  John  Hele,  (or.  Hale)  who  represented  Exeter  in 
Parliament  from  1592  to  1601.  He  was  appointed  Queen's 
Serjeant,  May  16,  1602;  and  was  knighted  at  the  beginning 
of  the  reign  of  King  James.  Strode  dedicated  "The  Floating 
Island"  to  Hale,  as  his  patron. 

Two  noted  musical  composers  of  the  time  were  among  the 
acquaintances  of  Strode.      Henry  I^awes,    who   set   some   of 

i"The  Controversy  between  The  Puritans  and  The  Stage,"  a  Yale  Thesis,   by 
Dr.  E.  N.  S.  Thompson,  New  York,  1903,  chap.  15.  p.  159. 
2Broderick:  p.  119. 
3Broderick:  p.  119. 
4Dict.  of  Nat.  Biog:    "Richard  Corbet." 


TY 


OF 

Strode' s  poems  to  music,  as  well  as  the  airs  and  songs  in 
"The  Floating  Island/'  was  on  familiar  terms  with  the  best 
literary  men  of  the  day.  Lawes,  himself  had  a  strong  literary 
instinct.  The  first  edition  of  "Comus"  was  published,  we  are 
told,  without  Milton's  name,  only  that  of  Lawes  appearing  in 
the  dedication.^  Lawes  also  set  to  music  the  songs  in  Cart- 
wright's  "The  Royal  Slave." 

Richard  Gibbs,  the  organist  of  Christ  Church  in  Norwich, 
also  set  some  of  Strode' s  poems  to  music,  among  which  the 
poem  to  be  sung  on  Good  Friday  is  spoken  of  as  being 
particularly  good.^ 

On  March  10,  1644,  Strode  died.  His  body  "was  buried 
in  the  the  Divinity  Chappel,  that  is  the  isle  most  northward 
from  the  choir,  belonging  to  the  Cathedral  of  Christ  Church 
in  Oxoniensis."^ 

iDict.  of  Nat.  Biog.:    "Henry  lyawes." 
2Dict.  Nat.  Biog.:    Art.  on  Strode. 
SAthense  Oxon.,  Vol.  2,  p.  36. 


21 


PART  III. 

THE  ALLUSIONS  IN  THE  UNIVERSITY  DRAMA  AND 
THE  FLOATING  ISLAND. 


THE  ALLUSIONS  IN  THE  UNIVERSITY  DRAMA 
AND  THE  FLOATING  ISLAND. 

The  varied  range  and  diversity  of  subject  matter,  the 
manner  of  treatment,  and  the  elements  of  allusion  embodied 
in  certain  college  plays  afford  a  study  of  absorbing  interest. 
After  all,  the  university  drama  is  not  so  far  removed  from 
the  popular  drama  in  its  inherent  qualities.  The  dramatic 
inspiration  is  largely  akin  in  both  types.  However,  the  style 
of  play  written  by  Jonson  and  his  school  seems  to  have  exerted 
the  greatest  influence,  of  all  the  popular  influences,  upon  the 
university  drama.  Jonson' s  moral  plays,  in  their  wealth  of 
allusion,  may  undoubtedly  be  considered  the  type  upon  which 
many  of  the  college  plays  are  based. 

The  chief  and  perhaps  most  interesting  value,  historically 
at  least,  to  be  attached  to  these  plavs  is  that  of  allusion. 
Theories  concerning  the  drama,  for  example,  are  to  be  found. 
In  Edward's  "Damon  and  Pythias,"  the  prologue  contains 
the  following  noteworthy  lines: 

"In  comedies  the  greatest  skill  is  this,  rightly  to  touch 
All  things  to  the  quick;  and  eke  to  frame  each  person  so, 
That  by  his  common  talk  you  may  his  nature  rightly  know."^ 

Considering  the  early  date,  1565,  of  the  presentation  of 
this  play,  this  allusion  becomes  more  interesting.  Evidence 
of  theories  is  likewise  to  be  found  in  the  criticism  of  the 
popular  drama  and  poetry  in  plays  written  and  presented  after 
the  year  1600,  of  which  more  anon. 

The  passages  of  allusion  in  the  University  Drama  arrange 
themselves  into  four  distinct  classes:  («)  Reflection  of  college 
life,  (d)  Criticism  of  and  references  to  popular  literature  of 
the  time,  (c)  Relation  between  the  university  and  the  towns- 
men,    (d)  Political  and  social  allusions. 

(a)  The  student  spirit  is  well  brought  out  in  the  play  of 
"Narcissus,"  where  the  character  "Francis  Clark,"  in  a 
speech  in  behalf  of  the  Freshmen,  begs  for  mercy  and  pity 
upon  them.  The  poverty  of  students  is  reflected  in  the 
Parnassus  plays,  and  likewise  the  custom  of  tutoring,  drinking- 
bouts,  and  doffing  of  hats.     "The  Christmas   Prince"  is  an 

iHazlitt,  Old  English  Plays,  Vol.  4. 

28 


expression  of  the  mirth  and  festivities  of  the  students  at 
Christmas  time  and  Candlemas  day.i  The  play  entitled 
"Techno-gamia  or  the  Marriage  of  the  Arts,"  presented  at 
Christ  Church,  Oxford,  in  1618,  discloses  the  subjects  studied 
at  the  university. 2  In  'Xingua,"  act  2,  scene  5,  the  character 
"Mendacio"  is  referred  to  as  ''Master  Register,"  probably  for 
the  purpose  of  setting  him  up  as  a  target  for  the  thrusts  of 
students  at  University  authority. 

{b)  Probably  no  better  source  of  scholarly  criticism  of 
contemporary  literature  can  be  found  than  that  contained  in 
many  of  the  college  plays.  The  prologue  of  "Narcissus" 
refers  in  the  following  lines  to  the  strolling  players: 

"Wee  are  noe  vagabones,  we  are  no  arrant 

Rogues  that  doe  runne  with  plaies  about  the  country." 

The  character  "I^uxur"  in  the  Parnassus  plays  ridicules  the 
twelve-foot  blank  verse;  comments  on  dialectal  spelling;  and 
the  character  "Igen"  alludes  to  the  custom  of  pamphleteering 
and  the  easy  susceptibility  to  print  in  those  times.  The  actors 
Tarleton,  Burbage,  and  Kempe  are  referred  to  in  these  plays, 
likewise  the  euphuist,  Lyly.  In  the  play  "Albumazar,"  act  2, 
scene  1,  there  is  a  burlesque  on  the  speech  of  Hieronimo  in 
"The  Spanish  Tragedy,"  in  the  lines  beginning: 
"O  lips,  no  hps — " 

"Lingua"  contains  the  following  criticism  of  sonnetteers,  act 
2,  scene  2. 

"Were  it  not  that  I  pity  the  multitude  of  printers,  these 
sonnet-mongers  should  starve  for  conceits  for  all  Phantastes. 
But  these  puling  lovers — I  cannot  but  laugh  at  them  and  their 
enconiums  of  their  mistress.  They  make,  forsooth,  her  hair 
of  gold,  her  eyes  of  diamond,  her  cheeks  of  roses,  her  lips  of 
rubies,  her  teeth  of  pearl,  and  her  whole  body  of  ivory." 

The  prologue  of  "The  Royal  Slave"  alludes  to  the  custom 
of  mercenary  inspiration  among  popular  dramatists,  in  the 
lines: 

"So  none  must  cry  up  boot)%  or  cry  down; 
Such  mercenary  guise  fits  not  the  gown." 
*  «  *  ■I'  «  3i< 

**No  traffique  then;  applause  or  hisse  elsewhere 
May  pass  as  ware,  'tis  only  judgement  here." 

1  Retrospective  Rev,  xri. 
2Ward,  8,  p.  177. 

24 


(c)  The  relations  between  the  Universities  and  the  towns- 
men have  ever  been  a  source  of  annoyance  in  college  towns. 
Oxford  and  Cambridge  had  their  share  of  troubles  that  grew 
out  of  the  opposition  of  the  authorities  to  the  pranks  of  the 
students.  The  play  *'Club  Law,"  acted  at  Clare  Hall,  Cam- 
bridge, in  1599,  may  be  cited  as  a  play  wherein  the  mayor 
and  burgess  are  lampooned.  In  this  particular  case  the 
allusion  in  the  play  was  based  upon  a  quarrel  between  Dr. 
John  Jegon,  the  vice-chancellor,  and  the  mayor  over  a  matter 
of  precedent.  1 

In  the  play  "Ignoramus,"  the  character  "]6hn  Lack- 
latin"  is  intended  "as  a  satire  on  the  barbarous  ignorance  and 
equally  barbarous  phraseology  of  a  pettifogger  who  can  talk 
neither  Latin,  nor  French,  nor  good  King's  English. "2  And 
in  this  same  play,  the  ridicule  of  professors  of  common  law, 
with  their  so-called  "Dog  Latin,"  is  at  once  apparent  in  the 
chief  character  of  the  play, 

(^)  The  evidences  of  allusion  already  pointed  out  indicate 
that  it  was  an  established  custom  in  the  majority  of  the 
University  plays,  in  English  at  least,  since  the  death  of 
Elizabeth.  The  place  that  "The  Floating  Island"  ocupies  in 
this  classification  is  under  the  head  of  political  and  social 
allusion.  The  play  was  presented  before  a  royal  audience  and 
at  Oxford,  the  strong-hold  of  Anglicanism.  It  is  small  wonder 
then,  that  the  play  was  ostensibly  written  to  please  the  King 
by  subjecting  the  Puritans  to  ridicule  and  by  thus  revealing 
Oxford's  loyalty  to  the  King. 

The  Puritans  are  represented  in  the  character  of  "Melan- 
cholico;"  "Sir  Amorous,"  a  courtly  Knight,  is  the  enemy  of 
the  Puritans;  and  King  Charles,  himself,  may  be  considered 
the  prototype  of  "Prudentius,"  the  king.  The  story  of  the 
play  is  concerned  with  the  rebellion  of  certain  dissatisfied  sub- 
jects who  desire  license  and  absolute  freedom  of  all  passions. 
"Amorous"  stirs  up  revolt  among  his  fellows  "Audax," 
"Irato,"  "Desperato"  and  "Hilario,"  and  they  resolve  to 
depose  their  king.  The  character  "Phancy"  is  proclaimed 
queen,  and  she  grants  the  malcontents  what  they  desire. 
Many  opportunities  are  thus  afforded  "Melancholico,"  who 
complains  of  the  prosperity   of  the  wicked.     He,   however, 

iMuUinger,  Hist,  of  Cambridge,  p.  137 
2Ward  III,  p.  186. 


marries  the  "lustful  daughter  of  Amorous,"  named  "Con- 
cupiscence, '  *  obviously  for  the  purpose  of  confining  his  reforms 
to  her. 

"Queen  Phancy"  rules  for  a  while.  A  masque  is  intro- 
duced in  the  play  and  there  is  much  levity.  Finally  '  *  Phancy" 
exclaims: 

"I  am  preplext  beyond  my  power  of  bearing. 
My  arm  is  lopt,  my  kingdom  is  all  tumult 
The  passions  taking  advantage  of  my  law, 
Follow  their  humours  to  their  mutual  mine; 
And  run  like  vessels  till  they  quite  run  out."^ 

The  deposed  "Prudentius"  is  recalled  and  once  more  assumes 
the  royal  seat,  and  the  passions  as  a  result  of  their  own 
excesses  are  calmed. 

To  all  intents  and  purposes,  the  character  *' Prudentius" 
represents  King  Charles;  "Intellectus  Agens",  his  minister, 
I^aud;  while  the  conspirators  can  be  none  other  than  the 
opponents  of  the  royal  party. 2 

Considered  as  an  individual  expression  of  ridicule  against 
the  Puritans,  "The  Floating  Island"  does  not  count  for  much. 
Interest  in  it,  however,  increases  when  its  place  in  the  long 
controversy  between  the  Puritans  and  the  Royalists  is  fixed. 
It  was  one  of  the  last  expressions  in  the  dramatists'  reply  to 
the  attacks  of  the  Puritans.  ^  In  his  Thesis  on  the  controversy 
between  the  Puritans  and  the  Stage,  Dr.  Thompson  has  traced 
its  history  from  the  Martin-Mar-Prelate  Controversy  up  to 
its  close,  about  the  year,  1640.  The  Martin-Mar-Prelate  con- 
troversy gave  the  first  opportunity  for  the  pen  of  the  play- 
wright, in  the  satirical  attacks  upon  the  Puritans;  which 
attacks  were  continued  by  Jonson,  Dekker,  Middleton,  Brome, 
Cartwright,  Mayne,  and  Randolph.  In  the  plays  written  by 
these  dramatists,  satirizing  the  Puritans,  the  characteristic 
traits  of  the  sect  were  subjected  to  much  ridicule  and  lampoon- 
ing. The  serious  look,  the  general  deportment,  the  nasal 
twang,  the  plain  garments  and  close-cut  hair,  the  abstention 
from  popular  fads,  the  aversion  toward  smoking  and  profan- 
ity, the  religious  demonstration  and  habit  of  scriptural  quota- 

lAct  4,  scene  13. 
2Dobell,  Intro.  40. 

3E.  N.  S.  Thompson,  Ph.  D.,  "The  Controversy  between  the  Puritans  and  the 
Stage;"  N.  Y.,  1903,  p.  247. 

26 


tion; — all  are  made  the  basis  of  bitter  invectives.^  Strode 
undoubtedly  profited  by  the  wealth  of  this  satiric  allusion; 
although  he  by  no  means  attacks  the  Puritans  in  the  clever 
fashion  of  the  popular  dramatists.  Spontaneity  was  lacking 
in  the  spirit  of  Strode's  attack;  for  he  sought  rather  to  flatter 
the  opponents  of  Puritanism  on  the  occasion  of  the  visit  of  the 
King  and  Queen. 

1  Thompson,  pp.  2U-14. 


^     OF  THE 

UNIVERSITY 

OF 


27 


PART  IV. 

A^BIBLIOGRAPHY  OF  THE  WORKS  CONSULTED  IN  THE 
PREPARATION  OF  THIS  THESIS. 


BIBLIOGRAPHY^ 

Anstky,  H. — Oxford  University,  2  Vols. 

Arber,  E. — An  English  Garner,  8  Vols.    Westminster,  1897. 

Brand,  J. — Popular  Antiquities.     New  York  and  London, 

1902. 
Brodrick,  G.  C. — A  History  of  the  University  of  Oxford, 

(Epochs  of  Church  History  Series.)     New  York. 
Cartwright,  Wm. — Comedies,  Tragi-Comedies,  with  other 

Poems.     London,  1651. 
Chambers,  E.  K.— The  Mediaeval  Stage,  2  Vols.     Oxford, 

1903. 
CHURCHII.L,  G.  B.  and  Kei^ler,  W. — **Die  Lateinische  Uni- 

versitats-Dramen  Englands  in   der  Zeit  der  Konigen 

Elizabeth,"  Jahrbuch,  34.     1898. 
Ci^RK,  A. — Register  of  the  University  of  Oxford. 
C01.1.IER,  J. — A  Short  View  of  the  Immorality  and  Profane- 

ness  of  the  English  Stage.     London,  1698. 
Courtney,  W.  L. — Article  in  "Notes  and  Queries,"  Vol.  2, 

Series  No.  7.     1886. 
Daniei.,  Samuei.. — "The  Queen's  Arcadia,"  ed.  Grosart. 
DoBEivL,  B. — The  Poetical  Works  of  William  Strode,  and  etc. 

London,  1907. 
Dictionary  of  Nationai.  Biography. 
The  English  Drama  and  Stage. — Documents  and  Trea- 
tises. 
EvEi^YN,  J. — Diary  and  Memoir,  1641-1706,  ed.   Wm.  Bray. 

London,  1889. 
F1TZGERA1.D,  P. — New  History  of  the  English  Stage.     Lon- 
don, 1882. 
Fi,EAY,  F.  G. — Biographical  Chronicle  of  the  English  Drama, 

2  Vols.     London,  1891. 
Ford,  J.— Dramatic  Works,  2  Vols.     New  York,  1831. 
Foster,  J. — Alumni  Oxoniensus.     Oxford  and  London,  1891. 
FuiviyER,  T. — Church  History  of  Britain,  3  Vols.     London, 

1868. 

iThis  bibliography  was  prepared  for  the  Thesis  in  its  original  form,  which,  in 
addition  to  the  matter  here  presented,  included  a  reprint  of  the  play,  "The  Floating 
Island." 

29 


Gardiner,  S.  A. — English  History  for  Students.  New  York, 
1881. 

Gayley,  C.  M.— Classic  Myths.     New  York,  1904. 

Genest,  J.— The  English  Stage,  1660-1830,  10  Vols.  Bath, 
1832. 

Genti^emen's  Magazine.— Vol.  26.     London,  1756. 

GoFF,  Thomas. — Three  Excellent  Tragedies,  viz. — "The 
Raging  Turk;"  and  etc.     London,  1656,  (2nd  ed.) 

GossoN,  Stephen. — School  of  Abuse,  Arber  Eng,  Reprints, 
No.  3,  Vol.  1. 

Green,  J.  R. — A  Short  History  of  the  English  People.  New 
York,  1897. 

Hai,i.iweli.. — Dictionary  of  Old  Plays. 

HAI.I.IWELI.,  Phii,i.ips. — Outlines.     London,  1898. 

Harper's. — Distionary  of  Classical  Literatures  and  Antiqui- 
ties.    New  York,  1898. 

Harrison,  W. — cf.  "Universities"  in  Elizabethan  England, 
ed.  by  L.  Withington.     London. 

HAZI.ITT,  W.  C. — Manual  of  English  Plays. 

Heywood,  T. — Apology  for  Actors. 

Jonson's. — Eastward  Ho  and  The  Alchemist,  ed.  by  F.  E. 
Schelling.     New  York,  1903. 

Langbaine,  G. — An  Account  of  the  English  Dramatic  Poets. 
London,  1691. 

Lee,  M.  L. — Narcissus,  A  Twelfe  Night  Merriment.  Lon- 
don, 1893. 

MuivLiNGER,  J.  B. — A  History  of  the  University  of  Cambridge. 
London,  1888, 

Mui,i,iNGER,  J.  B. — University  of  Cambridge  from  the  Injunc- 
tion of  1535  to  the  Accession  of  Charles  I.  London, 
1884. 

Milton,  J. — The  Prose  Works  of,  ed.  by  J.  A.  of  St.  John. 
London,  (Bohn.) 

Nichols,  J. — Progresses  of  Queen  Elizabeth.     London,  1823. 

Lodge,  T. — A  Play  of  Plays. 

Macray,  W.  D.  (ed.) — The  Pilgrimages  of  Parnassus,  etc. 
Oxford,  1886. 

Plummer,  C.  (ed.)— Elizabethan  Oxford.     Oxford,  1887. 

Prince's. — ''Worthies  of  Devon." 

Prynne,  W. — Histrio-Mastix,  The  Players'  Scourge.  Lon- 
don, 1633. 

80 


Thomas  Randolph. — Works,  2  Vols.     lyondon,  1875. 
Retrospective  Review. — Vol.  1,  Part  2.    1820.     (Lingua — 

A  Comedy.)     London. 
Retrospective  Review.— Vol.    12.     London,  1825.     (The 

Latin  Plays  acted  before  the  University  of  Cambridge. ) 
SCHEI.LING,  F.  E.— The  English  Chronicle  Play.    New  York, 

1902. 
ScHEivWNG,  F.  E.— Tabular  List  of  English  and  Latin  Plays 

acted  at  Oxford  and   Cambridge   between  1564-1642. 

Philadelphia,  1904. 
ScHELLiNG,  F.  E. — Elizabethan  Drama,  2  Vols.     Boston  and 

New  York,  1908. 
Stevenson,  W. — "Gammer  Gurton's  Needle,"  in  reprinted 

English  Comedies,  Vol.  1,  CM.  Gayley.     New  York, 

1903. 
Stowe's — Survey  of  London.     London,  1842. 
Strode,  Wii.i.iam. — "The  Floating  Island."     London,  1655. 
Strutt's. — Sports  and  Pastimes  of  the  English  People. 
Stubbe's. — Anatomy  of    Abuses,   ed.    Furnivall.      London, 

1877. 
Thompson,  E.  N.  S. — The  Controversy  between  the  Puritans 

and  the  Stage.     (A  Tale  Thesis.)     New  York,  1903. 
Traii^l,  H.  D. — Social  England.     London  and  etc.,  1895. 
Ward,  A.  W. — History  of  English  Dramatic  Literature  to 

the  Death  of  Queen  Anne,  3  Vols.     London  and  New 

York,  1899. 
Warton,  T. — History  of  English  Poetry. 
WheatIvY  and  Cunningham. — London,  Past  and  Present. 
White,  T.— The  Old  English  Dramas.     London,  1830. 
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"The  Alumni  Register"  of  the  University  of  Pennsyl- 
vania.    June,  1902. 
Wood,  Anthony  A. — Athenae  Oxoniensis.     London,  1817. 


re  53188 


<i   o  (•  i\  *"" 


